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Saturday, July 31, 2010

This Thursday and Friday at Observatory! Lord Whimsy on the curious flora of the bogs of Southern New Jersey--with live specimens and a book signing!--and Amy Herzog on the pornographic peepshows of Times Square as illuminated by Walter Benjamin's Arcades Project. Hope to see you at one of both of these great events!

Full details follow:

Nature as Miniaturist: An Illustrated Survey of the Bogs of Southern New JerseyAn Illustrated lecture and specimen demonstration with author, artist, and Gentleman Naturalist Lord Breaulove Swells WhimsyDate: Thursday, August 5thTime: 8:00Admission: $5Presented by Morbid Anatomy

Tonight, author, artist and Gentleman Naturalist Lord Breaulove Swells Whimsy will be giving an illustrated lecture on the botanical oddities found in the ancient, Ice Age bogs of the New Jersey Pine Barrens. These tiny, alien worlds are home to rare orchids, carnivorous plants, and bizarre species of plants and animals–some of which are found nowhere else on Earth. Whimsy, a lifelong resident of the Pine Barrens, will also give a demonstration of how to build and maintain your own container garden for these strange, wonderful plants. Live specimens of these plants will be on display, and care sheets for carnivorous plants like Venus Flytrap will also be made available. Whimsy’s book The Affected Provincial’s Companion, Volume One will also be available for sale and signing.

Lord Breaulove Swells Whimsy (aka V. Allen Crawford III) is an artist, designer, author, failed dandy, bushwhacking aesthete, and middle-aged dilettante. Whimsy is the author of The Affected Provincial’s Companion, Volume One (Bloomsbury), which has been optioned for film by Johnny Depp’s production company, Infinitum Nihil. He and his wife are proprietors of Plankton Art Co., an illustration and design studio. Their most notable project to date is the collection of 400 species identification illustrations that are on permanent display at the American Museum of Natural History’s Hall of Ocean Life.Photo courtesy Bruce Hamilton

The Pornographic Arcades Project: Adaptation, Automation, and the Evolution of Times Square (1965-1975)An Illustrated lecture with Amy Herzog, professor of media studies and film studies program coordinator at Queens College, CUNYDate: Friday, August 6Time: 8:00Admission: $5Presented by Morbid Anatomy

Walter Benjamin, in his fragmentary Das Passagen-Werk, illuminated the resonances between urban architectural structures and the phenomena that define a cultural moment. “The Pornographic Arcades Project” is a work-in-progress, seeking to build on Benjamin’s insight to ask what a study of pornographic peep show arcades might reveal about the cultural imaginary of the late twentieth century.

Motion picture “peeping” machines have existed since the birth of cinema, and were often stocked with salacious titles. Public arcades devoted to pornographic peep booths only began to appear in the late 1960s, however, although once established, they proliferated wildly, becoming ubiquitous features in urban landscapes. Outfitted with recycled technologies, peep arcades were distinctly local enterprises that creatively exploited regional zoning and censorship laws. They became sites for diverse social traffic, and emerged as particularly significant venues for gay men, hustlers, prostitutes, and other marginalized groups. The film loops themselves often engage in a strange inversion of public and private, as “intimate interiors” are offered up to viewers, at the same time that the spectators are called out by the interface of the machines, and by the physical structures of the arcades.

Peep arcades set in motion a complex dynamic, one that sheds light on wider contemporary preoccupations: surveillance videography and social control; commodification, fetishization, and sexual politics; debates regarding vice and access to the public sphere. Less obvious are they ways in which the arcades subvert far older fascinations, such as technologies of anatomical display and the aesthetics of tableaux vivants.

Amy Herzog is associate professor of media studies and coordinator of the film studies program at Queens College, CUNY. She is the author of Dreams of Difference, Songs of the Same: The Musical Moment in Film (Minnesota, 2010). She recently curated an exhibition at The James Gallery, CUNY Graduate Center on the dialogue between pornographic peep loops and contemporary art practices; you can find out more about that exhibition, entitled “Peeps”, by clicking here.

You can find out more about thes presentation here and here. You can get directions to Observatory--which is next door to the Morbid Anatomy Library (more on that here)--by clicking here. You can find out more about Observatory here, join our mailing list by clicking here, and join us on Facebook by clicking here.

Friday, July 30, 2010

Tonight's Morbid Anatomy Presents at Observatory event--featuring collector and film-maker Ronni Thomas on "Diableries"-- amazing 19th Century 3d stereo 'tissues' depicting the daily life of Satan and his cohorts (as seen above)--and the Morbid Anatomy Library got a write up in today's New York Times. To read the piece (we're the last entry in the story) click here. To find out more about tonight's event, click here. But better come early... this one looks sure to sell out!

Thursday, July 29, 2010

This Friday night, Morbid Anatomy presents at Observatory a night of arcane media and Victorian projection! Join collector and film-maker Ronni Thomas as he displays his collection of Diableries slides--masterfully designed 3d stereo 'tissues' created in france in the 19th Century depicting the daily life of Satan and his cohorts; see above--coupled with an illustrated lecture about the history of these fantastic artifacts and their kin. Come early and stay late to enjoy the phonograph stylings of DJ Davin Kuntze. Guests are also invited to bring their own arcane media and viewers!

3D is very much in the news these days, and while hollywood has finally come close to perfecting this technology for the silver screen, people are largely unaware that the Victorians were also aficionados of 3D technologies, and that this interest often took a turn towards the macabre. Tonight, filmmaker and collector Ronni Thomas will lecture on the history of macabre 3D spectacles of the Victorian age, especially the infamous Diableries series–masterfully designed 3D stereo ’tissues’ created in france in the 19th century, backlit and featuring ornate scenes depicting the daily life of Satan in Hell (see image to left for example). Tongue in cheek and often controversial, these macabre spectacles give us a very interesting look at the 19th century’s lighthearted obsession with death and the macabre, serving as a wonderful demonstration of the Victorian fascination with themes such as the afterlife, heaven, hell and death.

In addition to the lecture, Thomas will display original Diablaries and other artifacts from his own collection. Guests are encouraged to bring their own pieces and, better yet, a stereo-viewer.

You can find out more about this presentation here. You can find out more about the Diablaries by clicking here. You can get directions to Observatory--which is next door to the Morbid Anatomy Library (more on that here)--by clicking here. You can find out more about Observatory here, join our mailing list by clicking here, and join us on Facebook by clicking here.

Image: Found on the wonderful pre-cinema resource Early Visual Media; Caption: An Image from the Diableries series--masterfully designed 3d stereo 'tissues' created in france in the 19th Century.

Wednesday, July 28, 2010

I just stumbled upon a wonderful collection of photographs documenting specimens from the natural history cabinet of naturalist explorer Alfred Russel Wallace; this incredible cabinet was famously discovered in 1979at an Arlington Virgina-based antique store by Robert Heggestad. Heggestad--who took the photos you see above and who still owns the cabinet--purchased this amazing cabinet, seen by some to be a national treasure, for a mere $600.

Alfred Russel Wallace, The cabinet's creator, is famous for having come up with a theory of natural selection concurrently with his associate Charles Darwin; a letter he wrote to Darwin detailing his theory--which came to him in a fever dream, as explored compellingly by artist Mark Dion in the piece "The Delirium of Alfred Russel Wallace"-- famously led Darwin to overcome his qualms and publish his own work. The following excerpted text and images above are all from the blog Quigley's Cabinet:

“As you can imagine,” Heggestad writes, “after spending the past three years learning about his multifaceted life, I have become a great Wallace fan.” He notes that the cabinet is no longer on exhibit, but is still at the American Museum of Natural History cared for by Dr. David Grimaldi, Curator of Diptera, Fossil Insects & Lepidoptera, who will publish a paper on the historical and scientific significance of the collection. “I think this is a fabulous thing…a national treasure, actually,” says Dr. Grimaldi.

The collection contains some 1679 specimens in 26 glass-topped drawers that were originally hermetically sealed. “Of dragon-flies, I have many pretty species…” Wallace wrote in a letter from Singapore in 1854, and indeed the cabinet contains 36 dragon and caddis flies (1st image). The drawers in which the 398 butterflies and 294 moths were pinned had been built with a compartment along the front filled with camphor crystals, used to prevent damage to insect collections by other small insects. Wallace’s butterfly specimens include a “cracker” butterfly (Papilio amphinome, 2nd image), native to South America and named for the unusual sound the males produce as part of their territorial displays; a brush-footed butterfly collected in Brazil and commonly known as an “88” because of the pattern on its wings. The moths include a blue underwing, named for the bright hindwings hidden beneath dull forewings, and 2 species of sphinx moth, known for their quick and sustained flying ability, for which they are often mistaken for hummingbirds. Of the sphinx moth, Wallace wrote, “this moth, shortly after its immergence from the cocoon, as shown by the bloom on its unruffled scales, may be seen poised stationary in the air, with its long hair-like proboscis uncurled and inserted into the minute orifices of flowers; and no one, I believe, has ever seen this moth learning to perform its difficult task which requires such unerring aim.”

Among the 396 shells (3rd image) and stones and 86 pods and botanical specimens (4th image) is the fruit of a large leguminous tree of Brazil, the pulpy center of which is pulpy and edible. But perhaps the most intriguing specimen is the skin of an African sun bird (5th image), an Old World bird also reminiscent of hummingbirds because of the iridescent coloration of the males.

The collection also includes a British butterfly that is now extinct, fireflies and bedbugs captured by Wallace when he was 11 years old, and glasswing butterflies. The cabinet includes 2 specimens of the death’s-head moth featured in “The Silence of the Lambs.” Wallace gathered insects with “protective resemblances” - beetles that look like dewdrops, and moths that look like leaves, sticks, and bird droppings – and insects that mimic each other. He had many examples of protective coloration. He collected multiples of a single species to show individual variation. Wallace believed “that a superior intelligence, acting nevertheless through natural and universal laws, has guided the development of man in a definite direction and for a special purpose” - a more theistic view than Darwin, and the equivalent of today’s theory of “intelligent design.”

You can read this story in its entirety and see the full image collection (from which the above were excerpted) by clicking here. You can read more about the discovery of the cabinet by Mr. Heggestad by clicking here. To find out more about Alfred Russel Wallace, click here. To find out more about Mark Dion's artpiece, click here.

Monday, July 26, 2010

Above are some wonderful anatomical images from the exhibition "Lewd and Scandalous Books," on view at Monash University library in Melbourne, Australia until September 30th. I especially love the top image, which brings to mind the Anatomical Venus trope.

You can visit the virtual exhibition--from which these images are drawn--by clickinghere.

Crooke, Helkiah, 1576–1635. Mikrokosmographia: A description of the body of man … / By Helkiah Crooke … 2nd ed. (London: Printed for Thomas and Richard Cotes, and are to be sold by Michael Sparke, 1631).

Thursday, July 22, 2010

Now a particularly enduring Catholic practice is on prominent display in, of all places, Florence’s history of science museum, recently renovated and renamed to honor Galileo: Modern-day supporters of the famous heretic are exhibiting newly recovered bits of his body — three fingers and a gnarly molar sliced from his corpse nearly a century after he died — as if they were the relics of an actual saint.

“He’s a secular saint, and relics are an important symbol of his fight for freedom of thought,” said Paolo Galluzzi, the director of the Galileo Museum, which put the tooth, thumb and index finger on view last month, uniting them with another of the scientist’s digits already in its collection.

“He’s a hero and martyr to science,” he added.

The above image--of Galileo Galileo's preserved finger in its reliquary as now on display in Florence’s history of science museum--and text are drawn from an article that ran in today New York Times. You can read the article--which traces the history of Galileo as well as his preserved fingers and other assorted remains--in its entirety by clicking here.

Image Caption: "Visitors looked at one of Galileo’s fingers, on display at the Galileo Museum in Florence." Photo by Kathryn Cook for The New York Times

“Real or imagined, literal or metaphorical, monsters have exerted a dread fascination on the human mind for many centuries. Using philosophical treatises, theological tracts, newspapers, films, and novels, author Stephen T. Asma unpacks traditional monster stories for the clues they offer about the inner logic of our fears and fascinations throughout the ages.” – Amazon.com review

Please join us for a fascinating discussion of the monsters in our lives and our need to classify them. Stephen Asma is the distinguished scholar and Professor of Philosophy at Columbia College Chicago. Joanna Ebenstein is the creator and writer of the Morbid Anatomy blog and the related Brooklyn-based Morbid Anatomy Library.

Tuesday, July 20, 2010

Morbid Anatomy presents at Observatory Tonight (!!!), July 20th. Hope to see you there!

Morbid Ink: Field Notes on the Human Memorial TattooAn Illustrated lecture with Dr. John Troyer, Deputy Director, Centre for Death and Society, University of BathDate: Tuesday July 20thTime: 8:00Admission: $5Presented by Morbid Anatomy

In 1891, Samuel F. O’Reilly of New York, NY patented the first “…electromotor tattooing-machine,” a modern and innovative device that permanently inserted ink into the human skin. O’Reilly’s invention revolutionized tattooing and forever altered the underlying concept behind a human tattoo, i.e., the writing of history on the body. Tattooing of the body most certainly predates the O’Reilly machine (by several centuries) but one kind of human experience remains constant in this history: the memorial tattoo.

Memorial tattooing is, as Marita Sturken discusses the memorialization of the dead, a technology of memory. Yet the tattoo is more than just a representation of the dead. It is a historiographical practice in which the living person seeks to make death intelligible by permanently altering his or her own body. In this way, memorial tattooing not only establishes a new language of intelligibility between the living and the dead, it produces a historical text carried on the historian’s body. A memorial tattoo is an image but it is also (and most importantly) a narrative.

Human tattoos have been described over the centuries as speaking scars and/or the true writing of savages; cut from the body and then collected by Victorian era gentlemen. These intricately inked pieces of skin have been pressed between glass and then hidden away in museum collections, waiting to be re-discovered by the morbidly curious. The history of tattooing is the story of Homo sapiens’ self-invention and unavoidable ends.

Tattoo artists have a popular saying within their profession: Love lasts forever but a tattoo lasts six months longer.

And so too, I will add, does death

Dr. John Troyer is the Death and Dying Practices Associate and RCUK Fellow at the Centre for Death and Society at the University of Bath. He received his doctorate from the University of Minnesota in Comparative Studies in Discourse and Society in May 2006. From 2007-2008 he was a Visiting Assistant Professor in the Department of Comparative Studies at The Ohio State University teaching the cultural studies of science and technology. Within the field of Death Studies, he analyzes the global history of science and technology and its effects on the dead body. He is a co-founder of the Death Reference Desk website and his first book, Technologies of the Human Corpse, will appear in spring 2011.

You can find out more about this presentation here. You can get directions to Observatory--which is next door to the Morbid Anatomy Library (more on that here)--by clicking here. You can find out more about Observatory here, join our mailing list by clicking here, and join us on Facebook by clicking here.

Saturday, July 17, 2010

"Betty Boop's Snow White" (1933) is undoubtedly Fleischer's masterpiece as lapse, particularily its final sequence in an underworld--both an Orphean journey (i.e. the myth of Orpheus), and an Orphic journey (a silly dance of death set to music.)...the evil queen turns Koko the Clown into a shapeshifting ghost, while her mirror keeps sprouting hands; and a blackface to tell her who is the fairest of them all. At the same time, Koko as ghost is rotoscoped from a clip of Cab Calloway...

Koko sings "St. James Infirmary," while turning into a twenty dollar gold piece, then into a "shot of that booze." At the same time, to illustrate the line of "crap shootin' pallbearers," the walls behind him is lined with murals of skulls and cows together, gambling. That bears scrutiny, usually requires a few viewings: it is intentionally traced like the wall of a Coney Island Mystery Cave Ride. It is also traced out of a collective imaginary (at least the collective of animators). The skulls of African Americans reenact the greasy underworld of back-alley saloon life in Harlem. But not Harlem as blacks knew it--this is Harlem as the white male Fleischer animators saw it....--The Vatican to Vegas: A History of Special Effects, Norman Klein, 2004

You can find out more about this wonderful book--which contains countless gems such as this--by clicking here. Thanks to my good friend Ben for introducing me to this book, which has been captivating me for the past few weeks.

Friday, July 16, 2010

This just in! Tia, proprietor of the wonderful Case of Curiosities website, is selling off a variety of curiosities from her incredible personal collection (as seen above) today, tomorrow and Sunday in San Fransisco, California. I have seen this woman's collection and, I promise you, it will have your mind reeling in wonder and delight. If I lived in California, I would be there in a flash!

Full details follow:

3 DAY PRIVATE COLLECTION SALE! July 16,17,18 (Fri-Sun) 10am-3pm 3 Phoenix Terrace, San Francisco CA 94133 Off of Pacific, between Jones & Taylor, last house on right, light blue.415-563-7705

Morbid Anatomy presents at Observatory next Tuesday, July 20th. Hope to see you there!

Morbid Ink: Field Notes on the Human Memorial TattooAn Illustrated lecture with Dr. John Troyer, Deputy Director, Centre for Death and Society, University of BathDate: Tuesday July 20thTime: 8:00Admission: $5Presented by Morbid Anatomy

In 1891, Samuel F. O’Reilly of New York, NY patented the first “…electromotor tattooing-machine,” a modern and innovative device that permanently inserted ink into the human skin. O’Reilly’s invention revolutionized tattooing and forever altered the underlying concept behind a human tattoo, i.e., the writing of history on the body. Tattooing of the body most certainly predates the O’Reilly machine (by several centuries) but one kind of human experience remains constant in this history: the memorial tattoo.

Memorial tattooing is, as Marita Sturken discusses the memorialization of the dead, a technology of memory. Yet the tattoo is more than just a representation of the dead. It is a historiographical practice in which the living person seeks to make death intelligible by permanently altering his or her own body. In this way, memorial tattooing not only establishes a new language of intelligibility between the living and the dead, it produces a historical text carried on the historian’s body. A memorial tattoo is an image but it is also (and most importantly) a narrative.

Human tattoos have been described over the centuries as speaking scars and/or the true writing of savages; cut from the body and then collected by Victorian era gentlemen. These intricately inked pieces of skin have been pressed between glass and then hidden away in museum collections, waiting to be re-discovered by the morbidly curious. The history of tattooing is the story of Homo sapiens’ self-invention and unavoidable ends.

Tattoo artists have a popular saying within their profession: Love lasts forever but a tattoo lasts six months longer.

And so too, I will add, does death

Dr. John Troyer is the Death and Dying Practices Associate and RCUK Fellow at the Centre for Death and Society at the University of Bath. He received his doctorate from the University of Minnesota in Comparative Studies in Discourse and Society in May 2006. From 2007-2008 he was a Visiting Assistant Professor in the Department of Comparative Studies at The Ohio State University teaching the cultural studies of science and technology. Within the field of Death Studies, he analyzes the global history of science and technology and its effects on the dead body. He is a co-founder of the Death Reference Desk website and his first book, Technologies of the Human Corpse, will appear in spring 2011.

You can find out more about this presentation here. You can get directions to Observatory--which is next door to the Morbid Anatomy Library (more on that here)--by clicking here. You can find out more about Observatory here, join our mailing list by clicking here, and join us on Facebook by clicking here.

Thursday, July 15, 2010

On Thursday, August 5th, please join Morbid Anatomy in welcoming good friend and fellow traveler Lord Whimsy at Observatory as he delivers an illustrated lecture on "the botanical oddities found in the ancient Ice Age bogs of the New Jersey Pine Barrens."

Whimsy will augment his lecture with the display of a variety of live plant specimens illustrating the diversity of this region, a demonstration on building and and maintaining your own container gardens, and plant care sheets to guide you in cultivating a variety of indigenous carnivorous plants. Copies of his book, The Affected Provincial’s Companion, Volume One will also be available for sale and signing.

Herr Whimsy is a wonderful speaker and a fascinating thinker. I promise, this is one event you won't want to miss! Full details follow; hope to see you there!

Nature as Miniaturist: An Illustrated Survey of the Bogs of Southern New JerseyAn Illustrated lecture and specimen demonstration with author, artist, and Gentleman Naturalist Lord Breaulove Swells WhimsyDate: Thursday, August 5thTime: 8:00Admission: $5Presented by Morbid Anatomy

Tonight, author, artist and Gentleman Naturalist Lord Breaulove Swells Whimsy will be giving an illustrated lecture on the botanical oddities found in the ancient, Ice Age bogs of the New Jersey Pine Barrens. These tiny, alien worlds are home to rare orchids, carnivorous plants, and bizarre species of plants and animals–some of which are found nowhere else on Earth. Whimsy, a lifelong resident of the Pine Barrens, will also give a demonstration of how to build and maintain your own container garden for these strange, wonderful plants. Live specimens of these plants will be on display, and care sheets for carnivorous plants like Venus Flytrap will also be made available. Whimsy’s book The Affected Provincial’s Companion, Volume One will also be available for sale and signing.

Lord Breaulove Swells Whimsy (aka V. Allen Crawford III) is an artist, designer, author, failed dandy, bushwhacking aesthete, and middle-aged dilettante. Whimsy is the author of The Affected Provincial’s Companion, Volume One (Bloomsbury), which has been optioned for film by Johnny Depp’s production company, Infinitum Nihil. He and his wife are proprietors of Plankton Art Co., an illustration and design studio. Their most notable project to date is the collection of 400 species identification illustrations that are on permanent display at the American Museum of Natural History’s Hall of Ocean Life.

You can find out more about this presentation here. You can visit Lord Whimsy's website by clicking here, and find out more about his book by clicking here. You can get directions to Observatory--which is next door to the Morbid Anatomy Library (more on that here)--by clicking here. You can find out more about Observatory here, join our mailing list by clicking here, and join us on Facebook by clicking here.

Wednesday, July 14, 2010

I just stumbled upon a pretty incredible "photo story" documenting a collection of tattoos found in the Department of Forensic Medicine at Jagiellonian University, Krakow, Poland. The images above are all drawn from the photo essay; below is an excerpt from the very interesting article which accompanies the images:

Preserving the Criminal CodePhoto StoriesKatarzyna Mirczak

The tattoo collection at the Department of Forensic Medicine at Jagiellonian University in Krakow, Poland consists of 60 objects preserved in formaldehyde, a method devised by one of the experts employed by the Department at the turn of 20th century.

The tattoos were collected from the prisoners of the nearby state penitentiary on Montelupich Street as well as from the deceased on whom autopsies were performed.

The majority of the prison tattoos represent connections between the convicts. Besides gestures and mimics it is a kind of secret code – revealing why 'informative' tattoos appeared on uncovered body parts: face, neck or arms.

The collection was created with a view to deciphering the code – among prisoners known as a 'pattern language'. By looking closely at the prisoners' tattoos, their traits, temper, past, place of residence or the criminal group in which they were involved could be determined.

In Poland, tattoos are common among criminals. Traditionally, they could be found on people who exhibited a tendency towards perverse behaviour: such as burglars, thieves, rapists and pimps. It was noticed that a significant percentage of tattooed people showed signs of personality disorders and aggressive behaviour. In the 1960s in Poland, getting a prison tattoo required special skills and criminal ambition – it was a kind of ennoblement, each tattoo in the criminal world was meaningful...

The entire photo story, with the full article and image collection (highly recommended!), can be found by clicking here; text and images by Katarzyna Mirczak as published on the Foto8 website.

PS: If you are interested in this topic, then you certainly won't want to miss our upcoming Observatory lecture "Morbid Ink: Field Notes on the Human Memorial Tattoo" with Dr. John Troyer, Deputy Director, Centre for Death and Society, University of Bath next Tuesday, July 20th. More on that event here.

Forensic autopsy, crime, and death scene photographs hold a strong fascination in culture. These specific types of photographs present to the viewer a mediated confrontation with horror. In the context of a courtroom, there is a presupposition that the scientific or analytic use value assigned to the photograph will function to shift the viewer’s position from voyeur to detached collector of facts relevant to the legal system. Yet neither position is stable, and the psyche must contend with a complexity of vision that exceeds either classification.

In this slide show, artist and former forensic photographer Luke Tuner will present images from the history of forensic photography, slides from cases that he has photographed, and documentation of modern and contemporary art works that engage the viewer in the reconstruction process. Some relevant concepts explored by artists are crime scene reconstruction in Pierre Huyghe’s “Third Memory”, entropy in the work of Robert Smithson, accumulation in Barry LeVa’s pieces, the logic of sensation in the painting of Francis Bacon, something about that guy that had himself shot in a gallery, and many more. He will also discuss the curatorial work of Ralph Rugoff, and Luc Sante who have both made important connections between art and the forensic image.

Thoughts by philosophers of the abject/scientific, such as Julia Kristeva, Georges Bataille, Paul Feyerabend, Paul Virilio, and others, will be brought into play with the visual presentation. We will explore strategies of resistance to an “official” culture that attempts to legitimize a fixed methodology for the interpretation of evidence. As we emerge from art and philosophical tangents, the lecture will conclude with an argument for why the characters of Agent Dale Cooper from Twin Peaks and Laurent, the protagonist of Alain Robbe-Grillet’s The Erasers, personify two notions of the radical detective through their unconventional approaches to the interpretation of evidence.

Luke Turner is an artist / writer / gallery preparator, who previously worked for three years as a forensic photographer for various Medical Examiner and Coroner’s Offices. Luke has lectured at Glendale Community College in Los Angeles and at California College of the Arts in San Francisco. He is the recent founder of the art blog Anti-EstablishmentIntellectualLOL!.

You can find out more about the presentation here. You can get directions to Observatory--which is next door to the Morbid Anatomy Library (more on that here)--by clicking here. You can find out more about Observatory here, join our mailing list by clicking here, and join us on Facebook by clicking here.

This public conversation will take place at the Bryant Park Reading Room as part of the "Word for Word Université" series; it is free and open to the public and will begin at 7:00 P.M. Hope you can join Mr. Asma--who also wrote one of my favorite books ever, Stuffed Animals and Pickled Heads--and myself in what I am sure will be a thought-provoking conversation about monsters within and without.

Full details follow. Hope very much to see you there!

Word for Word Université at Bryant ParkIn cooperation with Oxford University Press

“Real or imagined, literal or metaphorical, monsters have exerted a dread fascination on the human mind for many centuries. Using philosophical treatises, theological tracts, newspapers, films, and novels, author Stephen T. Asma unpacks traditional monster stories for the clues they offer about the inner logic of our fears and fascinations throughout the ages.” – Amazon.com review

Please join us for a fascinating discussion of the monsters in our lives and our need to classify them. Stephen Asma is the distinguished scholar and Professor of Philosophy at Columbia College Chicago. Joanna Ebenstein is the creator and writer of the Morbid Anatomy blog and the related Brooklyn-based Morbid Anatomy Library.

Monday, July 12, 2010

\Video: The Gallery of Creation Adventure of Lion & LambWatch robotic animals discuss the creation of the world from a biblical prospective. Found here.

Regular Morbid Anatomy readers might recall a recent blog post about the a Georgia-based creationist natural history (sic) museum--"The Gallery of Creation, a Museum of Natural History"--being disseminated at public auction. Morbid Anatomy reader Sarah of the blog A Discourse on the Arts and Sciences was curious to know the outcome of that auction; Following is her exclusive investigative report, for your reading pleasure:

While the contemporary art market has struggled over recent months in terms of desirable material entering the market, the antiques market has been blessed. In particular, the genres of natural history, taxidermy and, surprisingly, kitsch have been a virtual goldmine in recent weeks, which have been bolstered even further by interesting provenances as well.

The Australian sale of the Owsten Collection (see report here) sold extremely well, with numerous pieces of highly significant natural history selling well above high estimates. I was particularly in love with the collector’s cabinets, myself.

Another captivating sale which I heard of, via Morbid Anatomy (thank you), was the de-accessioning of the collection of "The Gallery of Creation, A Museum of Natural History" on June 25th and 26th in Social Circle, Georgia (more on that here).

This Creationist natural history museum was founded by William Hurt Studios and catered to church groups, school classes and family outings. I wish I had gotten a chance to see it before it closed.

I have to admit, my first reaction was one of sheer captivation. What a great combo, natural history and that special kind of kitsch which only seems to happen in the South. Maybe my family stopped at too many tourist destinations during my childhood, but I shamelessly confess to a love of this kind of nostalgia. I envisioned lots of big blonde hair waving paddles for--quite simply--one of the oddest assortment of items I have ever come across available for sale in one place.

This particular sale was one of those examples of the sometimes odd attractions collectors can have. It certainly wasn’t about the ‘finest’, or art--it was about the sometimes most determined aspect of our attractions --nostalgia --as well as an occasional appreciation for good old fashioned camp.

In following up to the sale, I found that many of the pieces did sell quite reasonably. Prices do not include buyer’s premiums.

Another upcoming auction item worthy of pangs of nostalgia, as well as camp, is none other than Trigger himself, the trusted companion of Roy Rogers to be sold on July 14th in New York. The dispersal of the Roy Rogers & Dale Evans Museum Collection is being handled entirely by Christies and will take place on July 14th and 15th; more on that here.

Entertaining the masses so thoroughly for over two decades, Roy Rogers and Trigger were one of America's most recognizable duos, becoming instant classics in people's eyes, hearts and imaginations. Trigger also reached legendary status in his own right, and is undeniably one of the most memorable horses that ever lived. Trigger was apparently purchased for $2,500 back in the day.

Thanks so much, Sarah, for the excellent report. More information of the Museum of Creation can be found here. For backstory on the auction, click here. Click here to find out more about the Roy Rogers & Dale Evans Museum Collection auction. Click here to check out guest-poster Sarah's lovely blog A Discourse on the Arts and Sciences.

"Not since Galen’s De Elementis has been set in ink a single compendium of medicological knowledge so extensive & practicably useful as SUSPICIOUS ANATOMY Workbook No. 15: The Human Cranius. Having intrinsic value to all persons—piratical, mysterious, upright, or otherwise—The Human Cranius is a PEERLESS GEM of uncanny truth. If you are a living human, you should make frequent, unabashed forays into this field guide to your hideous secondary body—the cranius, an organ-matrix & carnival of fangs which is trying to destroy you even as you read this sentence…"

From the genre-chainsawing minds of the Hollow Earth Society (Ethan Gould and Wythe Marschall) comes “the definitive guide to the horrifying world inside you”—finally available in lush, illustrated paperback!

In the tradition of John Hodgman, David Cronenberg, and H. P. Lovecraft, The Human Cranius explores an alternative anatomy at once mesmerizing and deeply unsettling. Gould and Marschall ask: What do we know about our own bodies? The answer: Very little…

In many ways, the art and human studies of modernity have given us the keys to our unconscious minds, but have left entirely to dry science (fixing plumbing, testing drugs) the workings of our bodies. What does it feel like to have guts? To face disease, age, mutation—in short, a self that is not only not whole but not even on its own side?

The SUSPICIOUS ANATOMY series seeks to address these physio–psychomological imbalances by producing, for your benefit, the entire unconscious of the body, the shadow-self, in words and elaborate images.

The official Human Cranius book launch features a lecture, medicological film snippets, and a live human dissection. Join us!

About the Hollow Earth Society: For over one hundred years, the Hollow Earth Society has probed the world’s most bizarre and pertinent mysteries via an ever-mutating set of handbooks, rogue histories, and practical manuals. The Society is currently led by Colonels Ethan Gould and Wythe Marschall.

Ethan Gould is a Brooklyn-based artist working in drawing, puppetry, writing, and video to exploit the moments when the formerly robust process of perceptual categorization snaps like the fragilest of dry twigs. A graduate of the University of Rochester, he helped to create several development programs at the American Folk Art Museum. His work has appeared in such disparate places as the Ontological-Hysteric Theater, The Assembly Theater Company, The Brooklyn Review, Pomp & Circumstance, and ABC’s Wife Swap.

Wythe Marschall is writer. A graduate of Bennington College and the MFA fiction program at Brooklyn College, where he teaches undergraduate literature, Wythe has published stories and essays in McSweeney’s Quarterly Concern, Ninth Letter, and elsewhere. He is the senior editor of the Atlas Obscura and an editor of Pomp & Circumstance, as well as a frequent reader for Electric Literature. His thoughts on letters, postmodernity, and hip hop can be found on his website, chronolect.com.

You can find out more about these presentation here. You can get directions to Observatory--which is next door to the Morbid Anatomy Library (more on that here)--by clicking here. You can find out more about Observatory here, join our mailing list by clicking here, and join us on Facebook by clicking here.

Friday, July 9, 2010

Eczema traumatica. Self-induced by religious pervert at St. Elizabeth's Hospital, Washington D.C. Wax model. [Skin Diseases. Also Dermatology. Models and modelmaking. Made by Wallis of the Army Medical Museum.] (Reeve 000669-1)

Found--with caption!--on the astounding National Museum of Health and Medicine Flickr page. You can see more by clicking here and you can visit their wonderful blog, A Repository for Bottled Monsters, by clicking here. Click on image to see much larger version.

On Sunday, July 18th, The Morbid Anatomy Library--along with our esteemed neighbors Proteus Gowanus, the Reanimation Library and Cabinet Magazine--will be having a book sale featuring books and overstock from our respective collections! The event is free and open to the public; Full details follow:

A book sale featuring books and overstock from the collections of the Morbid Anatomy Library, Proteus Gowanus, the Reanimation Library, and Cabinet Magazine. Perhaps there will also be lemonade...

Hope very much to see you there!

Image: "The human body and the library as sources of knowledge", frontispiece of Tabulae Anatomicae, Early 18th cent., Johann Adam Kulmus; found via the National Library of Medicine's "Images from the History of Medicine;" Larger version found on Bibliodyssey's Flickr set. Featured on this recent post.

Monday, July 5, 2010

The space where medicine and art intersects is often … well, weird. And fascinating. That realization is explored in the Morbid Anatomy Blog, written by Joanna Ebenstein, a graphic designer and photographer in Brooklyn, N.Y. One goal, Ebenstein says, is “to bring the art and history of medical museums to the awareness of a wider audience and to frame their artifacts as artistic and cultural objects with as much to say about their makers and the culture their makers inhabited as about medical knowledge...”

The American Medical News--a national trade publication for physicians published by the American Medical Association--just launched a nice little Morbid Anatomy slideshow on their website. If you are interested in seeing a nicely curated selection of images from the greater Morbid Anatomy project, and/or in learning a bit more about the stories behind these artifacts and spaces, I highly recommend you check it out!

Friday, July 2, 2010

The seed for Thanatopolis was planted in 1983. It was an emotional response to the frustration of I-Park’s founder with the available options offered by the cemetery, funeral home and monument dealer upon the death of a loved one. There had to be a more fulfilling way to honor a special individual in one’s life upon their passing. And, it was felt, there needed to be a greater role for creativity and personalization in this process. --Why Thanatopolis?, http://www.i-park.org/WhyThanatopolis.html

What is Thanatopolis?• a special space for creating serious, fitting, moving memorials to individuals from all levels of society, a place where the longing to create and do something meaningful for the deceased can be satisfied• a physical place, a concept and appropriate imagery for attenuating memory• a harness/focal point for the agony and creativity unleashed by death• a natural setting for experimentation in the rituals of interment and memorialization • a new home for the ‘living memorial’ idea...--Thanatopolis at I-Park, http://www.i-park.org/Events.html

This just in: A call for artworks from I-Park Arts towards the creation of "Thanatopolis," an alternative, artist-imaged memorial park/space seeking to fill the gap left by empty and irrelevant contemporary memorial practice. Work is sought from visual artists, landscape artists, performance artists and more. Full call for works with all relevant links below; Submission deadline is July 12th.

Thanatopolis at I-ParkI-Park’s major inter-disciplinary project for 2010 is Thanatopolis, an alternative memorial park/space in the advanced conceptual stage of development. I-Park is soliciting memorial-themed proposals in the following fields:

Selected projects will be presented at the Thanatopolis Exhibition on October 2, 2010.

Submission deadline is July 12, 2010.

For a copy of the general Call for Proposals, click here.For the specialized Call for Entries in the field of Music, click here.For the specialized Call for Entries in the field ofPerformance, click here.For context, click here for ‘Why Thanatopolis?’For complete program information, click here.